Lin Wei | Lin Wei
<h1 class="pgc-h-arrow-right" data-track="4" > profile</h1>
Lin Wei | zi zi mustard, futang, listening to the owner of the rain mountain house. He studied at the Rongbaozhai Painting Institute in Beijing, where he studied under Mr. Song Yugui, Feng Yuan, Cheng Dali, Fan Yang and Zhang Lichen. His works focus on the integration of modernity and tradition, and strive to explore new patterns of landscape brush and ink, and have been selected for various exhibitions held by the China Artists Association and won awards for many times. He is currently a director of the Liaoning Provincial Artists Association, a director of the Liaoning Provincial Gongbi Painting Association, and the vice chairman of the Anshan Branch of the Liaoning Young Artists Association.
<h1 class="pgc-h-arrow-right" data-track="63" > Song and Yuan Dynasty Wind Gods and Era Vision
——Lin Wei landscape painting discussion</h1>
Text/Gao Hong
Contemporary book painting garden, fish eyes mixed beads. However, with a little combing, it is not difficult to see the middle way. An excellent Chinese painting is inevitably cast by the traditional era and personality, and there is no other. The development of the Network and the rapid explosion of information, followed by utilitarian people and other factors, coupled with the orientation deviation of the exhibition hall culture, may distort the aesthetic dimension and appear something that is not a donkey or a horse. It can be concluded by calmly examining the complicated and chaotic chaos, and the poetic connotations, and even the Chinese textures and symbols on display, are particularly important.
Lin Wei's works have a good grasp of this degree. Grasp the roots of nationality in Chinese and Western cultures. Grasp the spirit of pen and ink from generation to generation! He has a meandering euphemism in his recent works.
"Quasi-Ancient Landscape No. 3" 38cm× 38cm 2020 Color on paper
The Song painting of the mountain and the great river is majestic in the clouds, focusing on the interweaving of rationality and interest, and the poetic dwelling is like it. The bitter wind and rain of the Yuan Dynasty made this majestic texture slightly mutated, a more hidden and more reclusive schema that connected the mysteries of "Fuchun Mountain Residence" and "Thousand Miles of Rivers and Mountains" slowly rolled in. The former gives the soul, the latter gives comfort, these are Lin Wei's dreams of constructing landscape paintings, if the trip to Beijing ten years ago, the experience of visiting Song Yugui to Rong Baozhai made it a rebirth, then the quiet force of the next ten years reflects his creation and tamping self-observation. In this regard, it is very important, learning from his teacher to look at his heart without imitating his deeds is actually an act of wisdom, and among many students, Lin Wei Brother seems to have the god of his teacher and the reason of his teacher.
Lin Wei marches slowly in the majestic path of "Journey to the Creek and Mountain" and "Lushan Gao", appears in the clouds and fog, and his thinking always connects the composition of the times and the border with the Song and Yuan Dynasties. No soul will return to freezing, to the quagmire of repetition. At this point, Lin Wei was vigilant. The soul and structure of the ancestors are always in hand to integrate the notes and textures that must be added to the times. It presents the agility of the collision of rationality and interest, and has appeared repeatedly in recent freehand sketches, and it is particularly smooth to sing and sing. If it is said that the giant mountain Ozawa Taoguang is to build a benchmark, then the divine stroke outlined by the flash of inspiration reflects the high level of skill, which can be appreciated in Huang Binhong's lifelong practice! The universe is large, the world is vast, and throughout the ages, Chinese has always had a set of methods in terms of expression, which is clearly expressed in eastern philosophy in the interpretation of Confucianism: poetic metaphors are far stronger than intuitive expressions. "I don't know the true face of Lushan Mountain, only because I am in this mountain" Excellent works are not in the size of the format, not in the difference in work and writing, but in the poetry in the lofty realm or not! When people are heavy on whitewashing and dense and ignore the spirit and connotation, it is really powder upside down! The "Six Laws" say: Divine radiance is superior, form and quality are secondary, and true and heartfelt words must be known to my generation. The first product of Sikong Tu's "Twenty-Four Poems" is "Xionghun", which is the pattern, which is the meaning of Hun Hou Huazi. Lin Wei's works always run through these legal principles, which are in and out of the magic, so that his works are not confined to a certain law and stretch freely, and they are free! "I smiled at the heavens from the horizontal knife, and went to leave the liver and gallbladder for two Kunlun" (Tan Si's same sentence), the literati intervened in the majesty of the wufu, the cangshan mountains were like iron, the remnants of the sun were like blood, and Lin Wei got his spirit too!
"Quasi-Ancient Landscape No. 4" 38cm×38cm, 2020 Color on paper
The casting of poetry, calligraphy and painting has always been a method for successful artists to explore. From Zhao Mengfu's "Stone like flying white wood like a basket, writing bamboo is also with the eight laws." If anyone else can do this, it must be known that calligraphy and painting are the same." To Su Dongpo's "On Painting and Similarity, See Neighboring with Children", all the way to Wang Wei's poems, there are paintings, and there are poetry realms in paintings, which means that the breadth and profundity of traditional culture lies in the way of integration and penetration. Whether it is Wu Changshuo, Huang Binhong, Qi Baishi, or the four Families of Qing Monks and the Eight Monsters of Yangzhou, they all penetrate the divine principles at the fusion meeting and ultimately achieve self-realization. At the end of the 50s, the master of Chinese painting, Pan Tianshou, proposed that the chinese painting profession must be based on poetry and calligraphy, rather than replacing it with plaster sketches, which is the point of view expressed by Jian to Xu Jiang's teaching system. He believes that drawing plaster sketches should be done in students studying Western painting, while the Department of Chinese Painting should be different. This syllabus was broken in the hustle and bustle of the Cultural Revolution. Decades later, when I visited the cupboard of the Pan Tianshou Memorial Hall on the shore of Xizi Lake, I also saw the syllabus proposal he had written by hand with a fountain pen.
Fortunately, the Chinese people's understanding of tradition is no longer what it used to be. This is the result of the eighty-five-year-old debate. Brother Lin Wei's importance to the homology of calligraphy and painting and the mutual improvement between books and paintings comes from the teaching concept of Rong Baozhai. Mr. Tang Hui attaches great importance to the proportion of calligraphy in the curriculum of painting, and has hired Mei Mosheng, Shi Kai, Liu Zhengcheng, Zhang Xuguang and other domestic book scholars to teach, enhance the comprehensive literacy of the advanced study class, of course, also include the setting of art theory, the setting of poetry courses and so on. In the past few decades, Lin Weige's in-depth study of calligraphy, the two kings system, especially ni Zhan's pen and spiritual grasp, have accurately conveyed the spirit and traveled freely!
"Cold Forest Snow Intention" 240cm×200cm 2020 Color on paper
Brother Lin Wei has been lying down for nearly ten years, yu Wenshi Zhemei, poetry and calligraphy, painstaking cultivation, and poetic perch, the achievement of literati Bo involved in the family cut into one, people strange characters since ancient times. Books carry the Tao, paintings are the voice of the heart, learning every day, accumulating thick and thin hair, if the time is known, it will be grand and broad, and the water will come to fruition. We have high hopes!
Late at night at Heron Gate in the Spring of The Ugly Spring
<h1 class="pgc-h-arrow-right" data-track="64" > lin wei's works</h1>
Twilight Snow Song Chart 236cm× 200cm 2019 Color on paper
240cm×200cm, 2017 Color on paper
Book VIII of the Poetic Intentions of the Ancients, 36cm×25cm, 2020 Color on paper
Book of Poetic Intentions of the Ancients No. 5 36cm×25cm 2020 Color on paper
Book VI of the Poetic Intentions of the Ancients, 36cm×25cm, 2020 Color on paper
Book of Poetic Intentions of the Ancients No. 9 36cm×25cm 2020 Color on paper
"Liaoyang Nuclear Ganggou Sketch One", 68cm×35cm, 2019 Color on paper
"One of the Sketches of Deer Ming valley" 68cm×35cm, 2019 Color on paper
Twilight Clear House Map, 136cm×34cm, 2021 Color on paper
"Chixia YingWanshan" 34cm×68cm, 2020 Color on paper
"Deer Minggu Sketch No. 2" 68cm×35cm, 2019 Color on paper
"Red Dust" 35cm×69cm, 2020 Color on paper
"For the Visit to the Secluded Geese" 138cm×23cm, 2021 Color on paper
"Love The Clouds and Springs are in the Mountains" 140cm×35cm, 2020 Color on paper
《Rain Washes Autumn Mountain Net》140cm×38cm 2020 Color on paper
"Liaoyang Nuclear Gang ditch sketch no. 3" 68cm×35cm, 2019 Color on paper
The picture and text come from "Lin Wei" himself
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